Pidgins is an experiment in percussive languages. The Mexico City duo transform the oral and rhythmic methods of traditional trance rituals by phasing metric, melodic, and rhetorical phrases. These pattern systems form the grammar Pidgins use to construct linguistic puzzles: productivity mantras, guided anti-meditations, and hypnotic induction sequences. Pidgins speak in these tongues in order to interrogate contemporary trance states—managerial class dogmas, self-help literature, and new age therapies.

Percussionist Milo Tamez's drumming is informed by a decades-long study of polyrhythm. His work employs melo-rhythmic percussive textures within multidimensional patterns. In Pidgins, Tamez’s drumming is at its most energetic and beat-oriented, delivering reverie-inducing pulsating dynamism.

Vocalist and electroacoustician Aaron With chants the "refrains of the day"—jargon mantras of the technocratic elite. As rhythmic trance takes over, With reorders these expressions, shifting their meanings. He also narrates "un-Zen koans"—mysterious incantations and troubled visualizations.

Pidgins' sonic palate is wide. Tamez flows between minimal percussion to extended drum set. With's electronics mix just harmonies with foley and field recordings. These organic instrumental qualities contrast against With's synthetic vocal characters—conceived of as tech-augmented transhuman figures nostalgically pining for an imagined natural past. Pidgins live performances are accompanied by uncomfortably soothing stock video collages designed to deepen each refrain’s trance potential.